Ms. Tram Vu and Nguyen Hoang Long – founders of Manzi space
As both an art space and a cafe/bar open to everyone, what do you think is different about Manzi from normal art spaces?
Manzi’s cafe/bar model, with its comfortable and relaxing space, attracts a wider audience than pure art spaces, which are often closed spaces, with only a small number of visitors.
Manzi is an open model, allowing people to come and communicate with each other.
Manzi focuses most on visual arts, we create spaces for artists to display their works.
The difficulty is that we are too greedy so Manzi has too many functions.
Furthermore, we usually only work with slightly `indie` artists, those who are outside the `mainstream` with works of a certain artistic quality and serving the target audience.
What are the people who come to Manzi’s art space?
Manzi always wants to create a balance, and the good thing is between me and Ms. Tram (Vu Ngoc Tram, co-owner of Manzi, who has many years of experience working as Art Director – Art Manager – for the Association.
Manzi’s space is a combination of coffee and a gallery, selling works
In your opinion, what affects the audience’s reception of works of art, especially experimental contemporary art?
I think there are two important factors.
In order for the audience to accept art, I think they must have access to many different sources of information, so that the audience is not locked into existing views.
Second, the artist himself must also accept the public.
To help create a better connection between artists and the public, Manzi organizes talks in which the public can “question” artists about their work.
So does the public’s reception of Manzi’s art space satisfy you?
Temporarily satisfied because our programs have attracted many different audiences.
Is there anything you want to do for artists that hasn’t been done yet?
I want to participate in the training of artists.
How do you evaluate artistic activities in Vietnam?
Honestly, I feel like we’re lacking everything.
In Hanoi today there are places like Nha San Studio, or the Doclab project for experimental video art, but I find art activities in Hanoi still lacking professionalism even though they are still maintaining the frequency of activities.
In addition, I think there is also a need for better connection and dialogue between artists and art-making units and the government to better take advantage of support from above, which I see in many units.
Thank you for sharing these.
